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Why Hollywood Attacks

Why Hollywood Attacks
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Mike Cernovich isn’t new to battling it out with Hollywood celebs.

He might have some Hollywood admirers (probably in secret, not wanting to reveal they have a copy of Gorilla Mindset—or God forbid, MAGA Mindset—sitting on their shelves). However, some, like director Joe Carnahan, tried to use Mike to score points with their mostly liberal peers and overlords.

Here’s how it went down:

Mike just did a routine tweet analyzing Trump’s skillful media manipulation:

But Joe felt the need to chime in with a classy and thoughtful rebuttal:

Naturally, Mike doesn’t back down,replies and since I can’t stand Hollywood Hillbullies, I threw in my two cents as well:

I thought that would be the end of things but it seems Carnahan is insecure enough to accuse me of being some form of bootlicker:

Obviously he was projecting. With studio consolidation and all, there is a limited source of film funding, and my guess is Carnojoe has to prostrate himself quite a bit to receive a greenlight. That, or he was just upset I criticized the director he aped to start his career.

Confession: I haven’t seen many of Joe’s films. The two I have seen didn’t impress me and I let him know that:

That was the last I heard from Carnahan but the chats with Hollywood were not over for the weekend.

With all the chatter over #DumpStarWars, Mike did a victory lap over the box-office take of Rogue One:

Chris Weitz, co-writer of the movie, couldn’t ignore the tweet:

Mike replied:

And once again, I added my thoughts and Weitz didn’t seem to understand them:

So I clarified:

Unfortunately, no reply from Mr. Weitz.

Now, why would two bigwig Hollywood directors—one who just had number one movie release in the world—feel the need to attack guys like Mike Cernovich and those who agree with him? They have the Hollywood money behind them, right? They have the bigger platforms, right? They’re the one with all the influence, right?

Wrong.

As the recent presidential election has shown, the media—and by extension, Hollywood—is, for the most part, a paper tiger. As the above discussions illustrate, social media platforms like Twitter have leveled the discourse. It’s also why companies like Facebook are now trying to control the news flow.

Mike Cernovich’s Twitter feed can have just as much influence as an article in the New York Times. Self-published books like Gorilla Mindset can sell just as many copies as Megyn Kelly’s useless tale-all. More people watch Infowars or Stefan Molyneux on YouTube than watch CNN or MSNBC.

When it comes to entertainment, my favorite show isn’t on ABC, USA or even Netflix. It’s on YouTube. A few guys in Wisconsin, on a shoestring budget, can give me more entertainment than the most lavish of productions on the Big Four. I’m not the only one who thinks like this. The biggest stars to my kids are not Taylor Swift or Justin Bieber; that honor goes to iHasCupquake.

Hollywood’s only advantage at the moment is funds. They can make lavish productions that others can’t and a worldwide release to barely offset the production costs. But that’s about it. The days of mid-list movies have ended. I think directors like Carnahan and Weitz realize this. They realize their days of media domination are over. Hollywood will not go away, they have enough money to stick around for a while, but they are no longer just competing against rival studios for attention, they are competing with almost everyone with a YouTube channel or Twitter feed.

The playing field has been leveled—somewhat. I think entertainment, and most other forms of consumption are moving towards a long tail paradigm.

Here’s where Cernovich and others (like Roosh V) have an advantage: loyalty. Their success is not based on volume but on the same group of people continually buying their products because of some sort of kinship. To achieve this relationships have to be built. Cernovich says that he doesn’t have “fans” but “friends”. When I joined the Twitter discussion threads discussed above, it wasn’t because I’m a sycophant (as Carnahan suggested) but because I felt the urge to help a friend out who was being attacked by some Hollywood Hillbullies.

I’m doubtful that Carnahan and Weitz, and Hollywood in general, have that type of loyalty. Some, like Kevin Smith and Joe Rogan, have done a great job of building and maintaining a fanbase. Others, like the Duplass Brothers, appear to have discovered a workable business model. They are robust at least and antifragile at best. I think in the future, if the traditional Hollywood business collapses, to survive, every creative type will need to imitate these guys.

The communities—the tribes—around Mike Cernovich, Roosh V, Vox Day and others are the future of media.

The business that Carnahan and Weitz participate in is a dinosaur. If they suspect that, they wouldn’t be engaging in Twitter battles.